Article
Attention
Culture
Weirdness
Wildness
6 min read

Take a walk: the world is weirder than you think it is

Psychogeography and the dark alleyways of the mind.

Mockingbird connects the Christian faith with the realities of everyday life.

A backlit person at twilight holds a hand out towards the camera, holding some fairly lights
Riccardo Annandale on Unsplash.

This article, by Blake Collier, first appeared in Mockingbird. Published by kind permission. 

 

Entre chien et loup. 

The phrase literally means “between dog and wolf” and has most immanently been used to describe the twilight hour where day and night intermingle before night fully takes hold. 

Jean Pruvost, a linguist who has studied the expression, gave some background on ‘entre chien et loup.’ He says it comes from a Latin phrase, intra hora vespertina inter canem et lupum, that dates back to at least the seventh century. And it refers to the time when the daylight dims and you could mistake a dog for a wolf. 

One could imagine before the advent of electricity and modern public lighting how ambiguous this time of day could be as the landscapes around your small village were being consumed by the darkness — the human eye not fully able to calibrate fully for day or for night, hence the inability to distinguish between a friendly pet and a looming threat. 

This is what is popularly known as liminal space in our current epoch. This liminality is always present, however, not just at dusk. As we move through the worlds we inhabit, whether natural or built, we are constantly finding ourselves within transition or transformation. Psychogeography is a broader term that is often used to investigate the liminal movement of bodies through space. In its most simplistic form, it is how our mind interacts with and processes the physical landscapes that we inhabit and how those landscapes affect our mind. The actual history of the term is much more complicated — honestly, convoluted — however at its core it is scratching at the nebulosity of things like entre chien et loup

At the outskirts of a city or town, one begins to see the fraying of the edges, those areas where we have yet to fully enact our illusory control over the land.

About seven or eight years ago at the height of my running prowess, I got up one Friday morning very early and started a ten-mile run I had planned around nearly the full border of my hometown of Canyon, Texas. I did not know if I would make it the whole way, but the intent was there and the map was set. However, something interesting happened as I began plodding down my route. Those lines that show up on our maps often engender varying qualities of trails. Most of the time I was hitting asphalt and sidewalks, but when you are following a broad circle around a town, it’s not uncommon to find ambiguous stretches between incorporated and unincorporated parts of the town. Somewhere within the first mile or two, one of the “roads” I had included on my path ended up being nothing more than a worn trail through prairieland behind a group of houses. 

I bring this story up because, though I did not know it then, I was enacting a psychogeographic practice. Iain Sinclair, who is probably one of the most well-known proponents of modern psychogeography, walked the M25 around London in seven different treks over a time period. The M25 is a 125-mile loop around London and is considered one of the busiest highways in the world. As he ambled along the highway — sometimes on asphalt, sometime “around” the trace of the highway — he would take note of what he saw, and he eventually wrote the book London Orbital. This practice allowed him to see London in a new way because at the outskirts of a city or town, one begins to see the fraying of the edges, those areas where we have yet to fully enact our illusory control over the land. They have neither been captured by urban sprawl nor have they been renovated and gentrified. These lacunae are ambiguous regions between the built and unbuilt (or decayed). Once again, we are placing ourselves intentionally into places where we attend to the ley lines which connect the physical markers to the perceived or imagined topographies of the places where we exist. 

To put it bluntly, being intentionally attentive to surroundings can trigger investigations into the seen and unseen powers that hole up in our built environments and the natural world that pushes back against it. 

The path through the prairieland I spoke of earlier ended at a concrete curb and a recently repaved residential street that ran right next to a Catholic church, almost like the church was posting itself on the fringes of the town to warn of impending threat, or perhaps giving a welcome sight to a weary traveler. I suppose it depends on how you look at it. 

Yet it is exactly this work of attending to where we live and reacquainting ourselves with it that is, I believe, at the heart of this purposeful ambulation through space. Our lives fall into banality most of the time. We take everything for granted and we see our lived environment through that myopic lens. But take a walk on the outskirts of where you live, without a phone or music or any other technological mediation, and just look around the space and pay attention to how it embroils your emotions. I can nearly guarantee that you will find the place you live is much weirder than you thought it was, and you might even learn a thing or two about what your place values. I knew that Catholic church was in that general area of that path, but I didn’t realize how that path would empty me out before its hallowed presence. 

However, as I thought about it, it made sense that in this community the Catholic church would be found on the edges of the town. There are somewhere around ten other churches in a town of about 17,000 all of which are Protestant. However, if you go just ten or eleven miles west to the town of Umbarger, the roles are reversed. There is still one Catholic church, but as far as I know no Protestant churches. Merlin Coverley, in his book tracing the history of psychogeography, finds that “contemporary psychogeography as closely resembles a form of local history as it does a geographical exploration.” One could take the observations from their ambulation and dig into their place’s past to see why this might be the case. However, this is very much the chien of this psychological study of environment.  

What about the loup? Psychogeography has always had connections to the occult and the weird. Coverley continues later in his book, 

“Here, then, we find all the features ascribed to psychogeography today: the mental traveler who remakes the city in accordance with his own imagination is allied to the urban wanderer who drifts through the city streets; the political radicalism that seeks to overthrow the established order of the day is tempered by the awareness of the city as eternal and unchanging; and the use of occult symbolism reflects the precedence given to the subjective and the anti-rational over more systematic modes of thought.” 

All of this is to say that what we might find out about the place we live in when we give ourselves to its fringes and walk its shores might have a darker tone which implicates local politics and powers. Perhaps we will even find ourselves confronted by a metamorphosis which changes the very way we live, work, and move in these places. 

Sinclair’s earlier work Lud Heat in 1975 set out to remap London by way of connecting London’s churches built by eighteenth-century architect Nicholas Hawksmoor and their odd loci to numerous prominent murders like the Radcliffe Highway Murders and those by Jack the Ripper. There is a thread that ties some of the imagery Hawksmoor used in his churches to ancient Pagan symbolism. To put it bluntly, being intentionally attentive to surroundings can trigger investigations into the seen and unseen powers that hole up in our built environments and the natural world that pushes back against it. 

If nothing else, this study of the ambiguous transgressions between mind and place helps us bring a new profundity to our existence. It psychologically brings us back to a place where our intellectual, physical, and technological prowess cannot protect us from the hairs that stand on the back of our necks. Because everything, if attended to perceptively, can be seen as a dog or a wolf. And that should give us great pause in the everyday grind of our lives. 

Article
Culture
Film & TV
Trauma
Work
5 min read

What would Pascal make of Emmy-winner Severance?

Locking ourselves away in a room still doesn’t work

Rick writes and speaks on leadership, transformation, and culture.

Pascal ponders a steampunk TV showing Severance.
Nick Jones/Copilot.

Severance, the hit Apple TV series, garnered the most Emmy nominations at the star-studded 77th Emmy Awards. Colors and fame popped on the vibrant red carpet as Hollywood’s elite strolled along the walkway, exuding famous smiles, elegant evening wear, and their signature flair.  

It was strikingly ironic, however, to see the Severance actors in such formal attire, ripe with ready-made smiles. Their presence was, well, very Hollywood. This contrasted sharply with their on-screen characters, who are typically set against a dark, desolate backdrop of despair, compelled to force smiles as if it were an immense burden on their very souls.   

The stark contrast between the opulent Hollywood red carpet and the sterile, bland workspace Severance is set in underscores a core theme in the show: the tension between faith and doubt, belief and despair, light and darkness. 

In the show, the main character Mark S. grapples with the challenge of navigating his own tension in his own calibrated nightmare of hope and despair. He has to cope with the sudden loss of his wife, and it's suffocating him.  

His company, Lumon, helps him deal with this loss through a surgical procedure called Severance. This procedure implants a chip in his brain that creates two separate identities: an "Innie" for work and an "Outie" for home. These two co-existing selves are emotionally, physically, and psychologically unaware of each other, essentially severing the person's whole self into two pieces. Whatever they are trying to bury or escape, becoming “severed” keeps the person’s “Innie” from dealing with this delicate paradox of the “Outie”. In short, they don’t have to choose the light or the dark.  

For Mark S., severance offers a thin thread of disguised hope, a potential breach in his unbearable pain. 

In his Pensées, French philosopher Blaise Pascal explores this intrinsic human tension between faith and doubt, belief and despair - a fundamental aspect of the human experience. He says, "In faith there is enough light for those who want to believe and enough shadows to blind those who don’t."   

He posits that the evidence between the light and the shadow is just enough to sway us in one direction or the other. It’s calibrated on either side allowing us to lean into our personal autonomy. We are free to choose the hope of the light or succumb to the despair of the darkness; the outcome depends entirely on what we choose.  

Leaning into Pascal, the act of severance relieves Mark S. of this beautiful yet complicated tension.  

A review on Reddit said it simply, “Severing allows Mark to just literally shut his brain off, get the work done, then go home and distract himself with TV and alcohol... he doesn’t want to let it go.”  

It’s real pain and he doesn’t know how to manage it. The shadows are pervasive. However, by choosing severance, Mark avoids the light and the shadows. The more he relies on severance for hope or healing by attempting to bury the shadows, the more the shadows intensify - the shadows Pascal says will blind us in our disbelief.   

The battle that Mark S. faces embodies the very tension that Pascal is surfacing. This tension of choosing the light or the shadows is something we all must face.  

We all carry shadows wrapped in our own circumstances. I think many of us would likely prefer to avoid confronting them. They are painful. They are dark. They are heavy. In truth, if we had the choice I think many of us would likely choose an escape instead of dealing with the darkness, with the secrets and the pain that hide in our souls.  

For example, many of us show up to work or to life like Mark S. in some version of our “Innie” - a professional face of compliance, rule following, corporate persona, goal oriented, etc. and leave the version of our “Outie” at home alone and isolated to wrestle with our demons, with our painful, confusing questions. We curate our internal messiness and disguise ourselves with our own “Innie”. 

For some, our day job is an actual version of a self-imposed severance.  

I wish this tension between the light and shadows Pascal speaks of was less “tense” to say it plainly, and yet it is an inherent, essential part of the human experience.  

This faith that both we and Mark S. wrestle with, by its very nature, lacks complete clarity; this tension is, in fact, a testament to this profound mystery of life itself. It's the wonder of life. There’s just enough data for us to lean into the light and also just as much for us to lean into the shadows. What we see depends on what we choose to believe in.  

This tension is similarly addressed in the Biblical book of Hebrews. It highlights Pascal's subtle paradox and defines faith as "the substance of things hoped for, the evidence of things not seen."  

The freedom to choose “the substance of things hoped for”, this inherent tension of Pascal, is the true marvel and mystery of life. It’s both messy and wonderful.  

Our capacity for choice, to engage with the light and shadows and to lean into one over the other as we wish is a profound gift.  

While some find this very tension a reason for disbelief, Pascal tugs on this and says it's actually fundamental to belief, it's a wonderful component of the human condition - a true gift. It hints at the very essence of hope. It’s the same process we must engage when choosing to believe in or not to believe in something beyond our selves, and ultimately beyond this world.  

This struggle, the shadows of pain and suffering and the light of hope and belief is precisely what makes us alive; it’s what makes us human. It points us to the heavens where hope and faith were authored.  

The question isn’t whether we have an “Innie” or an “Outie”, a tension of light and darkness, of faith and doubt. We all do. We all wrestle with this essence. The question is do we have the courage to wrestle with these internal conflicts, enabling us to bring our whole selves - our flaws and pains, our joys and hopes  - into every interaction. 

This tension Pascal speaks of is ultimately a mirror that shows us, us. We are all tempted to numb our pain, divide ourselves, to compartmentalize the shadows. But Pascal reminds us there is always enough light to see, if we choose it.

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